This mural series was born as a dialogue between matter and meaning — a desert not of geography, but of feelings and shifting inner terrains. I approached it as an act of deconstruction and recreation, breaking down familiar desert archetypes — dunes, fossils, eroded rocks — and recomposing them into a space where memory, sensation, and time swirl like moving sands.

The desert here is not empty. It is full of fragments — emotional sediments, traces of life, and silent fossils of human experience. Every ceramic fragment was sculpted separately, like excavated bones of forgotten creatures, then placed onto the painted background as if the wind itself had revised and rearranged them to create new meanings.

This is a metamodern desert — a place of oscillation. It exists between erosion and construction, intimacy and vastness, where meaning is never fixed, only revised and constantly redefined — a dance of shifting sands, of shifting selves.



Deconstructed Language

This mural is not only about form; it is also about the deconstruction of language itself. The drawn lines and the thin light lines across the surface are not just decorative marks — they are texts. But texts that have been broken apart, stripped of linguistic order, and dissolved into pure energetic resonance.

Here, language ceases to be read in words. It becomes a field of vibrations, a telepathic zone where meaning is not “understood” but felt. The lines are like fossilized sentences eroded by the desert wind — their grammar has collapsed, their letters have fragmented, and what remains is raw meaning, transmitted directly, wave to wave.

This is metamodern communication — not linear rational explanation, but intuitive reading of energy patterns, like hearing a story told by the desert itself without a single spoken word.